Posts made by Mike Ansberry

When I said robotic I wasn't meaning a lack of emotion. I meant he never got tired and he never missed. It was a very long and extremely difficult performance.

I think Maurice Andre is a robot. I saw him years ago. He played an incredibly strenuous program, then came back out for encore after encore. The man is a machine. Seems like he never tires.

I received a recording of Lou Tabackin in Paris with only a bass and drums backing him. Wow!

You're getting a nice sound. I bet you will get a lot of your chops back and maybe more. Good luck!

Wow! More Clark Terry. What a monster.


This picture looks very much like my wife's first car. Her brother was head mechanic at a local Ford dealership. This car came in on trade in 1974. He called her and told her to buy it asap. Traded in by two little old ladies who took very good care of it. It was beautiful. Had a paint job that looked like a still lake. Factory air. We drove it as our main car until 1984. Since then it has been my backup/project car. My son and I rebuilt the 289 motor 17 years ago. I currently have the seats out and intend to rebuild them this winter.

Wow!

Saw this vid posted on TH. Some fine playing goin' on.

Youtube Video

I got it straightened out.

Anybody else having a problem logging into Trumpet Herald?

I will be getting the Rezum prostate treatment and will have to wear a catheter for a few days. Will I be able to practice while wearing it?

I recently bought an Olds Recording that was made right at the end of the Los Angeles period. It is in decent shape. The lacquer is about 90% and pretty dark with age. It plays almost as well as my Super Recording. These Olds Recordings from the early 1950's are real gems.

Excellent!

Shure BLX14/B98 Wireless Instrument Microphone System - H9 Band

https://www.sweetwater.com/store/detail/BLX14B98-H9--shure-blx14-b98-wireless-instrument-microphone-system-h9-band?mrkgadid=3274464271&mrkgcl=28&mrkgen=gpla&mrkgbflag=0&mrkgcat=livesound&lighting&acctid=21700000001645388&dskeywordid=92700046938738868&lid=92700046938738868&ds_s_kwgid=58700005283820810&ds_s_inventory_feed_id=97700000007215323&dsproductgroupid=410623114946&product_id=BLX14B98-H9&prodctry=US&prodlang=en&channel=online&storeid=&device=c&network=g&matchtype=&adpos=largenumber&locationid=9013072&creative=250311046959&targetid=pla-410623114946&campaignid=953755110&awsearchcpc=1&gclid=Cj0KCQjw--GFBhDeARIsACH_kdZCblxbhUBi6i1IC4eLPohfwS0fi_NAXU-kMUdVgdz6VdudPxaQclYaAh1gEALw_wcB&gclsrc=aw.ds

Looking for a wireless mic. Anybody know anything about this model or any other?

A little while back someone over at TH suggested that my tongue placement was causing the problem. Of course an argument ensued over the effect or lack of effect the tongue has on pitch.

I played with several of my various trumpets and drones and a tuner. I found that I was actually having the same problem on my other trumpets. I paid attention to what was going on with my tongue, and I found that over time I had developed a habit of not keeping my tongue as far forward in my mouth as I had in the past. I began concentrating on keeping the tongue forward and my problem was solved.

I really don't care about the physics involved. I am just glad I am able to keep the pitch up without working my butt off again.

@trumpetlearner said in Olds Recording 1951 era plays flat.:

I have no idea about this, and only looked at this thread, because I am interested in hunting out an Olds Recording at some point.

With little experience of trumpets, I can only think of the basics. So, we know that if the instrument is flat, there must be too much pipe. Some have suggested that the lead pipe could be too long, but how about one of the slides? Could the tuning slide be the wrong one for this model? I can't imagine that it would have left the factory playing flat. But I suppose the idea of the wrong length lead pipe comes from it having had a new lead pipe fitted at some point right? Is there any evidence of that? New welding for example? I suppose it's possible for a good tech to have fitted a new lead pipe without there being any evidence of the weld. But to my mind, it would be easier to have had someone switch the tuning slides at some point, either by accident, or to replace a damaged slide with one that was cheaper or easier to get.

EDIT: On my 1966 Silver Flair, I noticed that the valves, and even the tuning slide have serial numbers stamped on them, to match the serial on the outer valve housing. Is this something that can be checked? Was it common to have these markings on trumpets of that era?

EDIT: Actually, it's only the 3rd valve slide that has the numbers stamped on mine, not the tuning slide.......interesting.

The upper tube on the tuning slide is the same length as the outer slide. It bottoms out exactly on the mouthpipe when fully inserted. The lower tuning slide tube is shorter than the outer tube attached to the valve section. So there is a gap there.

But as near as I can tell, the slides, mouthpipe, receiver, valves, and bell section are the same size as my Super Recording. I once heard Arthur Benade give a lecture at the ITG in the middle 1970s. He demonstrated how the smallest difference, placed at exactly the right spot, can drastically change an instrument's tuning. I wonder if there is a small dent or imperfection in just the right place.

It is a shame. The horn plays beautifully. It is the only horn that comes close to playing as well as my Super Recording.

@j-jericho said in Olds Recording 1951 era plays flat.:

@mike-ansberry Did it ever play in tune, or is this a new development?

I never played it as my main horn on a gig. It was just a fun horn that I bought from a friend. I don't have (anything close to) perfect pitch. I played it with some Jamey Aebersold stuff at home. But now that I am back to gigging, playing it in groups and having to hold the pitch up is cutting into my endurance.

@dale-proctor said in Olds Recording 1951 era plays flat.:

@mike-ansberry

I had an Ambassador that was hopelessly flat for some reason, and I finally resorted to shortening the tuning slide receivers and the slide legs about 1/4” so I could push in a bit more. I would have gone a bit shorter than that, but a brace pad was in the way. I don’t know if I’d do that to a Recording, though...

I have an Eclipse MR in gold plate. I had trouble with it playing flat. I talked to Leigh about it. He suggested I cut of a specific amount from the lead pipe where it attaches to the valve block. I did that and it solved the problem.

I don't have this problem on any of my other horns. I really hate to cut this 51 recording.

I've been a repair tech, full or part time, for over 40 years. But this one has me stumped. I have a 1951 Olds Recording. It is a wonderful horn. I am going to have to send my Super Recording to Dr. Valve for a valve job, so the 51 has become my gig axe. But I am finding that I have to push up on the pitch even with the tuning slide all the way in. There does not seem to be anything strange about the mouthpiece gap. I don't have any problem playing in tune with my other horns. So I have had to resort to playing my 1970's Super or my 1933 Conn 40b for my main axe. But the 51 plays so much better in every way but the intonation.

Ideas?

I guess it may be not the mark of a real pro player, but I am pretty up after any gig that goes well. It helps if I hang with a friend or two afterwards. Hit the Waffle House or something.

I guess if I was playing 5 nights a week it would be different.

I believe that sight reading is somewhat connected to the ability to sight sing. If you can't hear it in your head, you are likely to miss the interval.

That, of course, doesn't take into consideration rhythmic reading.